Aria ''Dove sono i bei momenti' from opera Le nozze di Figaro by Wolfgang Amadeus Mozart Kiri Te Kanawa - soprano Metropolitan Opera Orchestra, Conductor : James Levine The Metropolitan Opera Centennial Gala, 1983
E Susanna non vien!
And Susanna hasn't come!
Sono ansiosa di saper
I'm anxious to know
come il Conte accolse la proposta.
How the Count took the proposition.
Alquanto ardito il progetto mi par,
The plan seems to me a little rash,
E ad uno sposo si vivace e geloso!
And against such a quick and jealous husband!
Ma che mal c'è?
But what harm is there in it?
Cangiando i miei vestiti con quelli
To change my clothes with
E suoi co'miei
And hers with mine
al favor della notte.
Under cover of night.
Oh, cielo! a qual umil stato fatale
Oh, Heaven! What a fatal comedown
io son ridotta da un consorte crudel!
I'm reduced to by a cruel husband!
Che dopo avermi con un misto inaudito
Who, after he had me, [gave me] an unheard-of mixture
'Porgi Amor' from a wonderful "Le Nozze di Figaro" conducted by Georg Solti at Paris Opera Garnier in 1980. The very famous stage production by Giorgio Strelher. Fabulous cast : Jose Van Dam (Figaro), Lucia Popp (Susanna), Gundula Janowitz (Contessa Almaviva), Gabriel Bacquier (Almaviva), Federica Von Stade (Cherubino), Jane Berbié (Marcellina).
Annelien van Wauwe, Boris Brovstyn, Nikita Boriso-Glebsky, Lise Berthaud and Maximilian Hornung play Mozart's 'Clarinet Quintet in A, KV 581' during the International Chamber Music Festival Utrecht 2017.
Performers: Annelien van Wauwe [clarinet] Boris Brovstyn [Violin] Nikita Boriso-Glebsky [Violin] Lise Berthaud [Viola] Maximilian Hornung [cello]
Daniel Behle as Ferrando sings 'Un'aura amorosa' (The air of love) from Act I of Mozart's opera Così fan tutte, with Semyon Bychkov conducting the Orchestra of the Royal Opera House, recorded live in October 2016. Find out more at http://www.roh.org.uk/cosi
In 1775 Mozart received a commission to write the substitution aria “Voi avete un cor fedele,” K. 217, for an unknown soprano in an Italian comic opera troupe passing through Salzburg. The aria, which was inserted into Baldassare Galuppi’s comic opera Le nozze di Dorina, was undoubtedly better suited to the unknown soprano’s voice than the original one. In this aria we see an early manifestation of the opera buffa style years before Mozart composed his Italian comic opera masterpieces - Le nozze di Figaro, Don Giovanni and Così fan tutte. Cecilia Bartoli sings.
Bejun Mehta (countertenor) singing the beautiful aria "Gia dagli occhi il velo è tolto" from Mozart's Opera Seria "Mitridate, Re di Ponto".
Salzburg Fetival 2006; Conductor: Marc Minkowski with Les Musiciens du Louvre; Director: Günter Krämer
Lyrics: Già dagli occhi il velo è tolto, vili affetti io v'abbandono: son pentito, e non ascolto, che i latrati del mio cor. Tempo è omai, che al primo impero la ragione in me ritorni; già ricalco il ben sentiero della gloria e dell'onor.
Dorothea Röschmann as Countess Almaviva sings 'Dove sono i bei momenti' from Act III of David McVicar's production of Mozart's Le nozze di Figaro (The Marriage of Figaro), The Royal Opera, 2006. Find out more at http://www.roh.org.uk/figaro
Le nozze di Figaro was the first fruit of Mozart’s partnership with librettist Lorenzo da Ponte; they would go on to create Don Giovanni and Così fan tutte. For Figaro, Da Ponte adapted (perhaps at Mozart’s suggestion) Pierre Beaumarchais’ controversial play Le Mariage de Figaro, which at the time was banned in Vienna due to its seditious content. The opera was well received in Vienna but had only nine performances; its revival soon after in Prague was a tremendous success, and led to the commission of Don Giovanni. Figaro quickly entered the international repertory and has rarely been out of it since, admired as one of Mozart’s finest works.
David McVicar’s acclaimed production sets the action in a French château in 1830 on the eve of revolution, amplifying the opera’s undercurrents of class tension. The entire household is drawn into the notoriously complex plot, which covers all shades of human emotion: from spirited playfulness (such as ‘Non più andrai’, when Figaro cheerfully sends Cherubino off to war), to deep despair (such as the Countess’s grief at her husband’s infidelity in ‘Dove sono i bei momenti’). But affection and fidelity prevail in this most warm-hearted of operas: the Count’s plea for forgiveness in the final act, ‘Contessa, perdono’, is an especially moving moment.